SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD CONCERT REVIEW
 

Prom 44 - Beethoven, Rachmaninov and Tchaikovsky: Nikolai Lugansky (piano), Russian National Orchestra, Andrey Boreyko, Royal Albert Hall, London, 18.8.2010 (BBr)

 

Beethoven: Overture: Coriolan, op.61 (1807)

Rachmaninov: Rhapsody on a Theme of Paganini, op.43 (1934)

Tchaikovsky: Suite No.3 in G major, Op. 55 (1884)


Because of some trouble in Thailand, Mikhail Pletnev decided to withdraw from this concert, thus giving Andrey Boreyko his Prom debut, and it proved to be an auspicious one.

Although the Beethoven was lacklustre – it had no fire in its belly – the Russian works were splendid. Nikolai Lugansky has given all Rachmaninov’s works for piano and orchestra with the Philharmonia this past season and, although I was disappointed with his performance, in that series, of the Paganini Rhapsody (Royal Festival Hall, 15 May), there were no worries tonight for Lugansky proved himself to be the master of this work. Fleet of finger and with a deep understanding of the work, he delivered an almost perfect interpretation and performance, which was, by turns, elemental and virtuosic and thoughtful and wistful. The minuet of Variation 12 was full of charm and was as delicate and winsome as one could want, and the famous 18^th Variation emerged as the real heart of the work, making an emotional climax to the whole piece. The performance was exemplary, with a view of the work as a whole rather than as a collection of 24 separate items. This is exactly the kind of thoughtful approach which is needed for works we hear, perhaps, too often, for it makes a thrusting stallion of a faded mare. Bravo to all concerned for this. The audience, naturally, demanded more and Lugansky obliged with a limpid account of the Prelude in G sharp minor, op.32 number 12.

I was very pleased to make the acquaintance of Tchaikovsky’s 3^rd Suite, for it is a work new to me, and it is most delightful, free of all the symphonic angst we are used to from this composer. The first two movements are named Élégie and Valse mélancolique but they are neither elegiac nor melancholic. What Tchaikovsky obviously wants us to understand is that this isn’t going to be a frivolous concoction, but it’s not going to be altogether serious and full of deep meaning. It’s brilliantly scored – apart from Rimsky–Korsakov in Sheherazade, who else could have come up the beautiful coda to the Élégie with solo violin, harp and woodwind? – and perfectly laid out for a large orchestra, which Tchaikovsky uses very sparingly. The final Theme and Variations has become a concert piece in its own right but heard in context it makes an even bigger, and better, impression than when it stands alone.

The Russian National Orchestra, celebrating its 20^th anniversary this year, played very well throughout and responded to all Boreyko’s demands with aplomb; it makes a very rounded and full sound, and, tonight, showed that it is possible to play loudly without loosing its overall refinement of tone. A fine show from a very fine orchestra.

Bob Briggs

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